TV 1.0 vs TV 2.0
What are the differences between "TV 1.0" & "TV 2.0"? How has convergence transformed the economics & stricture of the TV industry? How has Convergence changed the way we interact with TV content? Remember, there is no such thing as TV1.0/2.0 - this is just a metaphor to get you thinking about the differences between television as it evolved through 1950-2000 versus television in the age of convergence culture. Be sure to describe changes in the television industry and changes in the ways we interact with television content. Include content from Rodman and Jenkins Ch 1 & 2. Also, provide links and references to examples that specifically illustrate the changes you describe. A. Models for TV1.0 *Production *Content (types of programs) *Distribution *Feedback *Advertising *Role of Gatekeepers *Audiences (How were they quantified, tracked, impressed? How do they interact with content? Where/when do they watch? How were they a monolithic set of eyeballs?) B. Models for TV2.0 *Production *Content (types) *Distribution *Feedback *Advertising *Role of Gatekeepers *Audiences (How are they quantified, tracked, impressed? How do they interact with content? Where/when do they watch? Are they still a monolithic set of eyeballs?) '------>BEGIN ANSWERING BELOW. Make sure you address each of the points listed above. ---->' TV 1.0 TV 1.0 refers to the television era prior to the emergence of Convergence media. Audiences primarily watched programing from television sets in their homes by adjusting their schedules to watch specific programs, or channel surfing to view what peaked their immediate interest. TV 1.0 is Ameraca's most time consuming activity. TV 1.0 is the main source of news and information. TV 1.0 was the world's most powerfull sales tool.In the era of 1.0 TV's were only owned by a select few.Early in TV 1.0 each manufacturer had their own patent and a standard had yet to be reached. when a standard was set for tv 1.0 in 1941 it was ruled to be in black and white with 525 lines of resolution running at 30 frames a second. The birth of horizontal intergration came in 1954 by Walt Disney when he used tv to promote his park as well as his featured films. TV 1.0 content was generated by a limited number of producers called gatekeepers. During the era of TV 1.0 content distribution was limited. Viewers planned specific programs they wanted to watch each week and faithfully tuned in at specific times to see their favorite shows. This type of appointment viewing was easily quantified. Producers could easily measure the demographics of their viewers, as well as measure the frequency of their viewership. Producers could then sell their audiences to advertisers at high costs. The major design of TV 1.0's programming largely relies on advertising to pay for content and airtime. TV 1.0 advertisers depended on Neilson Ratings to determine the success of a program. Thus, programs with more viewers, or higher ratings, could charge more for an ad spot. These ratings were be analyzed closely to determine the value of advertising that could be sold. It terms of demographics, advertisers considered the 18-49 demo of most value, as this range of people held the highest percentage of purchasing power. Information could also be analyzed to determine the income levels and demographics of a program's viewers, thus making it possible for advertisers to know specifically who they were marketing to during their commercials. The success of a television program during the era of TV 1.0 was largely dependent on advertisers purchasing airtime during their show to present their product. In the age of TV 1.0, there was limited interaction between producers and consumers. Content was presented to viewers directly, but left viewers without a legitimate platform to provide feedback. If a viewer was completely outraged or moved emotionally through a program, they might have shared their thoughts with a friend, or co-worker around the “water cooler” the day after a buzzed program had aired. However, personal feedback rarely circulated back towards the producers and formally established communities of viewership were also rare at the time of TV 1.0. Furthermore, 1.0 only allowed for minimum feedback - audiences either tuned in, or simply did not watch. TV 2.0 ' Television 2.0' designates the new ways in which convergence culture has entirely reshaped television. The emergence of new technologies, primarily the ways people interact through the internet, launched the evolution of how content is generated, distributed, funded and viewed. Viewers no longer need to arrange their schedules to tune in to programs at specific times. The models for television have now transcended into new platforms such as iPads, smart phones, and personal computing devices. Many popular shows can now also be viewed in segments, as many YouTube channels are devoted to highlighting the “best of” parts. If someone’s schedule does not allow them to view the program during it’s “live broadcast”, or the originating time in which the show’s episode initially aired on television, there are multiple platforms available in which a viewer may catch the episode. Furthermore, we also have the capability of viewing content on demand. An on demand button is now a designated button on our remote controller that will pull up an on demand screen whenever we desire. On demand menus allow us to browse through a wide variety of different movies ranging from G rated Disney films to R rated horror films; television programs also are accessible in the on demand menu ranging in a similar fashion to the movies. On demand is just another way that allows television viewers to watch their shows at their own convenience. Through the emergence of TV 2.0, people can now interact with their favorite programs at will. Popular programs today require viewer participation in order to succeed. Viewers call in to vote for their favorite contenstants, or they can easily vote through text or online from the program's website. This feedback lets producers know who is watching, what viewers like to see, and thus a new type of rating system is emerging. Due to the shift of media viewership from televisions to other devices, advertisers can no longer depend as heavily on rating systems such as Neilson's. Advertisers have had to reshape the way in which they measure audiences to locate the best placement for their commercial. One way in which advertisers determine the popularity of programming, is by measuring viewership participation in programming. Popular programs, such asABC's Dancing with the Stars , can attract large advertisers based on the amount of viewer participation they can measure through the number of people that call, text, or go online to the show's website to vote for ther favorite contestants. Viewership can also be quantified by how many hits the program's website recieves, how many subscribers it has on it's youtube channel, or even how many blogs and knowlege communities it has spurred. Advertisers take into account the exposure of a particular program over various media platforms, such as your local newspaper having an entire column dedicated to the results of this week's Dancing with the Stars ''segment or how many Facebook users "like"-ed the show's fan page. Advertisers can use this information to analyze where their product should be placed, and how frequently they purchase adspace on Facebook versus Hulu , or directly on the show's website for the most visibility. Advertisers also depend more on product placement worked into the content of a popular program to appeal subliminally to a large audience. For example, the advertisers of Doritos often show key television stars eating Doritos during popular programs in hopes that many people will see them and want to buy them. Role of Gatekeepers in TV 1.0 vs. TV 2.0 The role of gatekeepers in the world of TV 2.0 is evolving constantly. Television programming is beginning to be watched more and more on the internet, so there is much more pressure for producers to be relevent to today's new cultural shifts, capturing an over-entertained audience in as little time as possible. Audiences today can now create and publish their own content on sites like YouTube and Vimeo . There is now an abundance of content being generated from a large number of producers, spanning from the experienced specialist to the young amateur due to the proliferation of multimedia technologies. In many cases, the producers are those individuals lacking formal credentials with the ability to have their own content distributed and redistributed to a large audience. Viewers can comment or rate videos for feedback and/or critiques. This all can occur with little or no financing, and can spread in popularity similarly in the way television producers spend millions producing content for mass public viewing, eliminating the time necessary to view mass media programming with large budgets, labor intensive content, and network distribution. 'Click on the link below to watch a video about the changes in Televison:''' TV - We Watch When We Want To Web207 Assgt 4 Kero O'SheaThis is Kero O'Shea's Web207 A4 Reflective Web Media Creation. Program Providers: Network Programming: Program Syndication: Which includes Off-Network Progamming, Strip Programming, and Original Syndication